Sennheiser, the first choice for advanced audio technology that makes collaboration and learning easier, has announced that new components of the EW-DX microphone system are shipping and available to customers. With initial components released last year, EW-DX simplifies professional workflows by utilizing refined technologies to deliver a digital UHF system that can be scaled with ease.

Among the newly available products are a two-channel Dante receiver in a half-rack size, a network charger with cascading, and an active directional wall-mounted antenna. In addition to the new hardware, Sennheiser’s Control Cockpit, Wireless Systems Manager and Smart Assist App software has been updated to include support for the new EW-DX components.

The Two-Channel Dante Receiver
​Adding to the two-channel receiver without Dante, Sennheiser now offers the EW-DX EM 2 Dante, a half-rack (9.5”) two-channel receiver, which allows for various network modes to flexibly integrate into existing workflows. The receivers have a switching bandwidth of up to 88 MHz, which can translate – thanks to Sennheiser’s equidistant spacing – to up to 146 channels in standard mode and up to 293 in link density mode.

The Network Charger with Cascading ​
​Earlier this year, CHG 70N, a non-cascading variant of the EW-DX 2-bay network charger, began shipping to customers. Today, Sennheiser announces the replacement for CHG 70N, a network charger that can be cascaded (up to 5 x network charger units), named CHG 70N-C.

The Wall-Mount Antenna
​The AWM wall-mount antenna is an active directional antenna for use with Evolution Wireless Digital microphone systems. It can be connected to any stationary Evolution Wireless Digital receiver or EW-D ASA antenna splitter. AWM is available in the following product variants:

AWM UHF I (470-694 MHz)

AWM UHF II (823-1075 MHz)

AWM 1G8 (1785-1805 MHz)

The Central Software for Easy Handling, Control and Maintenance
​Sennheiser offers customers the ability to monitor and control its audio solutions with centralized software for a variety of use cases. For customers using EW-DX in corporate or educational environments during lectures or meetings, Sennheiser Control Cockpit version 7.1.0 now includes support for the following new EW-DX products:

EW-DX EM 2 Dante Receiver

EW-DX Table Stand Transmitters (available early 2024)

EW-DX CHG 70N-C Cascading Network Charger

The easy-to-use Sennheiser Control Cockpit provides a global overview of all network-enabled devices at all times. It shows all status information at a glance and makes setting adjustments for one or multiple devices at the same time very easy. ​ ​

For operators in multi-channel live audio environments, such as music or theatre performances, the Sennheiser Wireless Systems Manager 4.7.0 supports all EW-DX products for set-up, monitoring and control.

For convenient operation of smaller set-ups, Sennheiser’s new Smart Assist App version 2.1.1 provides automated setup, operation and monitoring using any iOS or Android device. An intelligent setup function automatically creates reliable wireless connections, no wireless expertise required.

The Additional Components to Come
​In addition to the EW-DX TS 3 and 5-pin table stand transmitters in all frequency ranges, a four-channel Dante receiver with full 19” rack size is expected to be available mid-2024.

We have already seen great adoption of EW-DX in the market and look forward to helping our current customers build upon their EW-DX systems, while enticing new customers with these new components,” says Michael Altemark, Lead Product Manager Wireless, Business Communications at Sennheiser. “By adding Dante enabled receivers, a cascading charger and support from our multiple software control platforms, we are delivering on our commitment to provide the wireless microphone system features our customers need and demand.”

For more information about EW-DX, please also visit www.sennheiser.com/ew-dx-business or www.sennheiser.com/ew-dx-professional.

Legendary Australian cinematographer, Andy Taylor ACS has been working with Sennheiser microphones for more than three decades, having travelled to over 110 countries whilst relying on the manufacturer’s esteemed audio quality. Although primarily a cinematographer, the nature of Taylor’s work often requires him to operate and record his own audio, making Sennheiser’s easy-to-use and reliable recording solutions a constant in his arsenal.

Andy was first introduced to Sennheiser microphones in 1986 when he began his career as a trainee studio camera operator for the Australian Broadcasting Corporation (ABC). Working on Australia’s iconic children’s programs Mr. Squiggle and Playschool is where you might find Andy operating a boom pole complete with an MKH 416. During his 25 years as a cinematographer at the ABC, Andy recalls that crews in the highly regarded cine-camera department were all issued MKH 416 microphones as part of each field kit, and it’s been his go-to microphone ever since.

“I always carry two MKH 416 microphones in my kit. My work is unpredictable, so I like to be prepared for anything that’s thrown at me, including capturing sound on my own when required, whether that is recording a presenter, reporter, a press conference, dialogue or just background noise,” shares Andy, “because a large part of my work is interview based, I need the best gear that is super dependable. The 416 can handle difficult filming and reporting conditions without any issues, I’ve used them all day every day for the past 35 years when operating as a one-man band – they are bullet proof!” As his go-to boom microphone, Andy used the MKH 416 when filming and recording interviews such as those seen in the Netflix and ABC-TV documentary series ‘Exposed: The Ghost Train Fire’ which saw Andy win a Walkley Award, Kennedy Award, and the Gold Award for Documentaries at the ACS Awards – some of Australia’s most prestigious cinematography accolades.

Andy reflects on the EW-DP, a recently launched portable UHF wireless system in Sennheiser’s Evolution Wireless Digital family of solutions that enables him to seamlessly connect straight to his camera, allowing for flexibility to move around and not trip over audio cables. The EW-DP series not only simplifies his setup with industry-leading audio quality, but also offers Bluetooth synchronization and system control via the Smart Assist app, adding versatility, and allowing professionals like Andy to focus on their creative work. Even better, as Andy explains “one of the great things about this new system is that the batteries last all day, in both the transmitters and the receivers. It’s a lifesaver because working with AA batteries in some other radio microphones, you’d be lucky to get an hour, so a good battery system is crucial.” The EW-DP impresses with its extended battery life, offering a choice of power sources, including lithium-ion rechargeable batteries, standard AA batteries, or external charging via USB-C. Intelligent battery management displays the exact operating time when using the included BA70, offering extended life up to 12 hours on the transmitters and up to 7 hours on the receiver.

The simple integration of the EW-DP with any camera makes it an ideal partner to streamline audio workflow. “The form factor of the receivers and being able to clip onto the magnetic mounting bracket system of the camera is quick and easy. There’s a variety of connectors, (either 3.5 mm or XLR), so straight into whichever camera system you’re using.” Andy describes the EW-DP, expressing enthusiasm for the soon-to-be-released SKP plug-on transmitter meaning Andy can wirelessly connect the MKH 416, or MKH 8060 (the latest addition to his collection), and operate completely without cables. Currently, in his day-to-day work, Andy is a fan of mounting the MKH 8060 on his camera as a top mic, a setup which he puts as “slightly overkill, but it just means I have a compact, quality mic with me all the time, just in-case! It’s the go-to mic of many of my professional sound recordist mates.”

“There are lots of other brands out there, but quality and reliability are critical. To me, it’s all about having durable gear from a respected and trusted brand that cares about customer service, knowing that the batteries will last forever and that you’re getting great quality audio every time – without drop-outs or interference, equipment that can take the knocks that won’t let me down, even in humid or dusty environments.” Making the most of the EW-DP Andy can quickly and easily connect it to either his Canon Cinema EOS C500 or Arri ALEXA Mini LF via the XLR, alternatively use his Canon C70 or R5C via the 3.5mm connector. Describing this set-up as “a saviour, especially with the Arri as I have now permanently attached one of the mounting brackets to each camera cage and I just clip the receiver onto the bracket with the magnets, plug it in and away she goes!”

Andy’s remarkable list of credits has seen him work on some of Australia’s most respected and influential programs. Having spent 25 years with the ABC, Andy is mainly recognised for his time in some of the ABC’s foreign bureaux and on the award-winning current affairs documentary program Four Corners, which is Australia’s longest running TV show, where he filmed 98 complete episodes over 12 years. Andy later moved onto film for 60 Minutes where he would spend weeks at a time travelling overseas filming stories covering every genre: human interest, true crime, wildlife and adventure, science, politics, celebrity profiles, wars, civil unrest, and more, with the country’s most respected journalists.

Today, Andy specialises in filming documentaries, commercial productions, network promotions, television commercials, dramatised re-enactments, and multi-camera interviews. These days Andy often operates solo as a “one-man band” shooting, lighting, and recording his own audio.

When Andy started working as a freelancer, to help save time on the road he encouraged his wife Jo, a professional film and TV make-up artist, to assist him setting up the sound on shoots. “I often film with three or four cameras, so I taught her how to help me with very basic audio, and now six years later she’s travelling the world as a professional sound recordist, she’s mastered the dark art of radio-mic placement, and become a crucial part of our documentary crew,” shares Andy.

Extending Andy’s relationship with Sennheiser beyond his audio equipment, in August 2023 he hosted the ‘Solo Operator’ Masterclass at Macquarie University in partnership with the brand. Tapping into both Sennheiser and Andy’s passion for educating and equipping the next generation of filmmakers, the class of 50 film students got to hear from Andy about his thought process when preparing for a shoot, the best routes into filmmaking, choosing the right technology for a successful shoot and the importance of using content to tell a story in a creative way. Students also enjoyed a Q&A moderated by acclaimed television journalist Ray Martin AM. University representatives and students both called out how valuable the session was in upskilling younger generations and understanding the nuances of cinematography.

“The Masterclass at Macquarie University was an extension of Sennheiser’s commitment to create the future of audio by supporting the next generation of filmmakers. We are proud to have partnered with such esteemed professionals as Andy Taylor and Ray Martin to bring real world experiences and expertise to these emerging filmmakers,” says Ruth Bailey, Pro Audio Marketing Manager, Sennheiser ANZ, “We hope that the Masterclass empowered students in their creative workflows while inspiring them to equip themselves for success in their careers.”

Most recently Andy has worked on an incredible line-up of content with his talents gracing the hit Netflix series Selling Sunset, an upcoming documentary on UK pop star Ellie Goulding, documentaries for Tourism Australia and Queensland Tourism in the outback and feature documentaries in Asia, Europe, and the United States. With his trusty MHK 416 that he’s used for over 35 years, the MK 8060 and the latest addition of the EW-DP, Andy is eager to continue incorporating these high-quality audio solutions into his future endeavours.

To see more of Andy’s work or to learn more about his illustrious career visit his website or Instagram.

EW-DX might be built to a mid-tier price point but I can’t see anything compromised about it. The new series sits between the top-spec 6000/9000 Series and the standard EW-D range. Improvements over the EW-D range include wider bandwidth, more channels, multi-channel receivers, encryption and the option of Dante (two-channel this year and a four-channel option in 2024). EW-DX family components can be purchased separately or in bundled packages chosen from a selection of three receivers and three transmitters. The receivers offer a choice of 2 x two-channel half rackspace units, one Dante-equipped, and a four-channel 19-inch rack version, with Dante. The three transmitters cover handheld, bodypack and tablestand applications (the SKP plug-on transmitter is a honorary fourth option — turning any wired mic into a wireless one — Ed.). 

For the purposes of this review I had an EW-DX MKE 2/835-S set. It’s one of the eight packages of matched components aimed at a big chunk of wireless users, in this case performers and business or education presenters. You get a two-channel EW-DX EM2 half-space rack receiver; the EW-DX SKM handheld transmitter with MMD 835 microphone module; and an EW-DX SK bodypack transmitter for use with the supplied lavalier microphone or instrument of your choice.

GO DIGITAL

The main advantages to converting the audio signal to ones and zeros before UHF transmission is the information arrives unaltered — unless you’re out of range, then it doesn’t arrive at all. This improves audio quality and range; increases information capacity (spectrum efficiency); and transmission security (encryption), with less interference. Sennheiser use its own SePac audio codec conversion technology delivering a system that Sennheiser claims has the widest input dynamic range of any wireless system currently available at 134dB with a latency of only 1.9ms.

Frequency selection used to be confusing but not here. By pressing the Sync button on the EW-DX EM2 receiver the unit automatically scans and chooses the most secure frequencies from up to 88MHz of tuning bandwidth. Intelligent Switching Diversity is an RF technology management that enables receiving antennas to silently switch channels between frames if needed. The equidistant tuning grid from their flagship digital 6000/9000 Series wireless systems eliminates intermodulation between EW-DX transmitters spaces frequencies 600kHz apart. This simplifies frequency coordination and enables up to 146 separate channels in standard mode or 293 in Link Density mode. That should be enough.

Not seen this before: the displays on the SKM handheld and SK bodypack transmitters have a great feature called ‘e-ink’ which continues to display the operating frequency and off/on status on the screen after the unit has been powered down. Handy if you’re using several devices, you don’t have to turn them on to identify them.

The EW-D SKM handheld transmitter is fitted with Sennheiser’s Standard Capsule interface that’s compatible with a range of 14 Sennheiser and two Neumann capsules. The MMD 835 microphone module supplied with the EW-DX MKE 2/835-S set is the reasonably-priced entry level option but it’s still a good quality dynamic mic with a cardioid pick up pattern and high level handling.

The BA70 rechargeable lithium-iron battery pack gives the transmitter a full 12 hours of operation, a couple of double AA disposables also fits in the battery space and offer around eight hours run time. Both the SKM handheld and the SK bodypack have contacts that work with the range of optional Sennheiser in-device chargers to charge the batteries without needing to remove them from the units. Most recently, there’s the LM 6070 module for the L6000 rackmount charger. However, the batteries need to be removed for this one. Transmitter output power of 10mW RF, delivers a working range of around 100m. Different frequency variants are available to match the requirements of different countries.

With over 40 million streams, New Zealand-born country-pop artist Kaylee Bell now considers Sennheiser’s Evolution Wireless Digital microphone systems an on-tour essential. Fresh from supporting Ed Sheeran on the six-date New Zealand leg of his Mathematics World Tour, Sennheiser EW-D has become a constant companion — with the band having previously chosen Sennheiser equipment for its reliable sound and dependable quality.

The self-managed musician kicked off 2023 by winning an Australian Golden Guitar Award for ‘Vocal Collaboration of the Year’, and now embarks on her own tour — the 16-date ‘Boots ‘N All’ debut tour of New Zealand — where the same wireless convenience will take her full live band shows to the next level.

Since setting themselves up with Sennheiser’s wireless system, the band has changed how they approach live performance. “As a performer — especially on the Ed tour, with the stage being so big — we had the freedom to run everywhere, which was amazing. Having such a minimal stage setup allows us to have so much more fun as a band. It gives a sense of unity, and being able to move around freely really allows our personalities to come through,” shares Bell.

From the production perspective of the band’s audio technician, Nick Campbell, the initial engagements with Ed Sheeran’s team were revelatory. “When asked about our setup we realised that all we needed onstage was a drum kit because everything else was now wireless,” he said. “All of our vocal mics and guitars, and all the backline that we have sitting off-stage are wireless, which they were really happy about as it made things a whole lot easier.”

During the tour, the team were able to bond with Ed Sheeran’s stage management crew. Kaylee’s front-of-house engineer Josh Anderson shared some insights saying, “They just don’t have issues on their shows. They are very particular about what they take on the road, and because of this they are able to run a very reliable set-up. The fact they use Sennheiser speaks volumes.” 

When chatting with Dave White, Ed’s RF and looper tech, Campbell gained an understanding of how shows of that magnitude work, and how the scalability of a Sennheiser setup like that could tie into it. Campbell says, “We can rock up to a pub with this gear and play to 50 people, or at the other end of the scale we can show up and support Ed Sheeran with the exact same gear and have more or less the same set-up time.” While the introduction of wireless may have reduced set-up times, it’s not all about convenience. The Sennheiser gear has also helped to reduce touring costs as the entire rig can be taken on the road in a 23kg pelican case.

Kaylee’s band have been using Sennheiser’s EW-D, but will now extended UHF range and channel count as they transition to the EW-DX on their ‘Boots ‘N All’ tour. By simplifying their workflow with its scalable transmitter and receiver options and automatic multi-channel RF set-up, the EW-DX is setting the standard in the live audio industry. “We don’t lose tone going wireless, all of our guitars have the same great level of consistency. This is the first thing we consider when adding new gear into the rig, so there will be no loss of quality as we move forward with the EW-DX,” says Anderson.

Also helping Anderson and Campbell to deliver an all-round professional sounding production are the G4 in-ear monitors that have been paired with Evolution Wireless Digital microphones, as well as the Smart Assist app which allows remote adjustments to be made from around the venue.

The Evolution Wireless Digital family of products brings a level of consistency and range that helps Kaylee and her band to transcend genres, and float across country, rock and pop. Kaylee finishes by explaining how Sennheiser enables this amalgamation saying, “There is a strong reliance on guitars to create a ‘rock’ element to our shows, but it’s also important to be able to deliver something quiet and reflective by breaking down a song with some beautiful acoustic guitar.”

Kicking off on 4 May 2023, Kaylee heads on her national NZ Boots ‘N All tour, for event dates and ticketing information visit here.

Photo credit: Mike Braid

Whether it’s a podcast recorded at a dining table, a YouTube influencer reviewing a product to camera, or an all-night-long Call of Duty stream on Twitch, there’s one crucial necessity in the toolkit of today’s digital content creator: a good microphone.

But selling a microphone to a Twitch streamer is very different to selling a microphone to a recording studio owner, PA rental company or a corporate AV manager. The product will be judged mostly on ease of use rather than accurate frequency response. Ergonomics are of equal importance to the noise floor spec, and aesthetics matter as much as room rejection. 

FITTING THE PROFILE

Sennheiser’s pro audio credentials don’t need flag waving – since 1945, the family-owned German business has a proven track record of audio engineering prowess. Now the company is bringing that wealth of expertise to a very different market. 

Meet Profile – Sennheiser’s first microphone offering, specifically for podcasters and streamers.

It’s a plug ’n’ play USB microphone with a side-address cardioid condenser capsule. A futuristic design and innovative tilting chassis give Profile more appeal to streamers and podcasters, and it’s available in a Streaming Set bundled with a high quality boom arm. 

Profile has a list of fairly standard audio specifications: a max SPL handling of 125dB, frequency response from 20Hz-20kHz, and audio resolution up to 24-bit/48kHz. Powered by USB-C, it’s housed in a small but solid body weighing 350g.

There are no surprises or headaches getting started with Profile. Pick Profile as your computer’s default audio input and output for the mic and headphone output to engage. Once your headphones are plugged into the rear 3.5mm output, the centre knob is your Mix control to balance between real-time mic monitoring and playback from your computer. The first knob controls 40dB of mic gain from 85dB to 125dB and the green LED ring around it flashes orange/red when clipping. The lowest knob adjusts headphone level, which is plentiful when turned up – impressive for a bus-powered USB mic. The LED rings around the gain knob and Mute button light red when muted.

ALL TALK

Sennheiser has voiced the Profile microphone with a neutral yet polished tone that’s ideal for speech purposes. There’s a hint of overzealous trebles, especially on female or sibilant voices but for the most part Profile produces a clear, solid and ‘dry’ sound with subtly scooped mids and a bump in the 2-8kHz presence region. Suppressed low frequencies are a noticeable characteristic – the spec sheet shows a rolloff from 200Hz downwards, and this is actually beneficial as a ‘built-in’ high-pass filter (no switchable option) and lends the mic some inherent plosive control. The downside is a very mild proximity effect which only kicks in significantly 2-3cm in front of the grille – worth mentioning for voiceover talent who like to work the mic. 

A tight polar pattern that rejects background noise is generally a good thing with USB mics. While the Profile has a cardioid capsule, recordings made with it disclose a fairly wide pickup, as confirmed by the polar pattern diagram in the manual. Talking into the mic 90° off axis yielded a vocal tone that actually sounded mostly natural, like a less bright version of the direct sound. By the time I swivelled the mic a full 180° my voice was attenuated a decent amount. 

I was happy to discover how well the grille manages plosives even when fairly close to the mic, and with a little distance it virtually all-but eliminates pops and booms. Despite a stated equivalent noise spec of 28dBA at maximum gain, Profile remained commendably quiet when gained right up. In fact, I could crank the gain knob and speak in a whisper 15cm away and the mic still yielded clean recordings.